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Ilhan Ersahin ist ein schwedisch-türkischer Musiker und Barbesitzer, der in Stockholm
aufgewachsen ist und seit 1990 in New York lebt. Als Musiker hat Ersahin mit verschiedenen
Musikern sowie eigenen Projekten / Bands, wie beispielsweise dem Wax Poetic Love Trio,
gespielt und aufgenommen.
Silver ist das jüngste Projekt von Ilhan Ersahin. Damit hat er sich ein Stück weit von seinen
anderen musikalischen Unternehmungen entfernt. Dazu formte er eine Gruppe bestehend aus sich
selbst an Rhodes-Keyboards und am Tenorsaxophon, der Trompetenikone Eddie Henderson,
der Basslegende Juini Booth und dem Schlagzeug / Percussion-Zauberer Kenny Wollesen.
Auf dem Album geht es um Improvisation sowie um minimales Denken im jazz-musikalischen
Sinne. Die Improvisationen hatten eher eine lineare Annäherung als die normale arpegierte oder
angeregte Stilisierung der Soli.

The great jazz guitarist Kenny Burrell on one of his most celebrated sets of all-time. Recorded live at the Five Spot Café in New York City on August 25, 1959, this is the second set and the band is really cooking. Featuring the brilliant drummer Art Blakey as well as the wonderful, but unfortunately under-recorded tenor saxophonist Tina Brooks, Burrell's band is in tip-top shape on this set of compositions ranging from originals to Gershwin to Gillespie. An essential live jazz set for any fan of the golden era of modern jazz.

Dies könnte das einzige verfügbare Album sein, das die heißeren und
schwungvollen Sounds von Peggy Connolly bietet. Sie war über zwei Jahre
lang Frank Sinatras Freundin und ihre Beziehung öffnete ihr viele Türen für
ihre Karriere in Musik und Film. Obwohl Connelly in ihrer Karriere nur
wenige bedeutende Möglichkeiten hatte, ihr Talent als Sängerin zu
beweisen, liefert sie hier großartige Aufnahmen. Ihre Performance ist
tadellos und erfrischend

KOWTOW is the brand new label created by the composer and producer Vincent Leibovitz, member of La Fine Equipe and cofounder of Nowadays Records (La Fine Equipe, Fakear, Clément Bazin, etc.). Through this ironic courbette, Vincent Leibovitz proposes an ingenious way of developing projects inherited from music library liberties. Each artist creates a specific object akin to electronic film music, sound design and ambient, rather than a collection of traditional-album-formatted tracks. An opportunity for artists to experiment their bond with contemporary images. As such, projects on the KowTow roster are supported by productive and promotional assets boosted by Vincent Leibovitz's vision and his experience with the epic Nowadays adventure, as well as in the sphere of production music (in particular through his work with the benchmark agency Cezame).

For its first overt compilation, KTW001, KowTow proposes its courbette for 10 artists with visionary synaesthesia.
6 of them will release their album during the year (Malvina Meinier, Penelope Antena, Monolithe Noir, Airsouth, Billy Dentelle, 52hzWhale) - the other 4 seized the opportunity to deliver their own ideas by taking advantage of this venture to lay down highly-edgy, atypical tracks: Jumo (Nowadays), Haring (City Tracks), J.Kid (Unno) and Sébastien Forrester (Nowadays) and, among those who will soon be creating a buzz:
PUBERTY by Malvina Meinier is probably the most pop and most digital track on the record. Puberty, from the upcoming Corpus/Anima album, embodies the explosive, sensual struggle between body and spirit, between Malvina's adolescent self-tuned impetus and her synthesizer.

Meanwhile, Airsouth drew his inspiration from the fantasy and contemplative aesthetics of the filmANNIHILATION (Alex Garland). Written with minimal resources during a flash of spontaneous inspiration, this track exemplifies the latest mutations of Airsouth's work. Synthetic instruments complement the field recording, giving birth to an artificial decor, an extraterrestrial intrusion into a forest stroll.

In contrast, BY TWOS lends more so to song-type listening, partly because it is the fruit of the partnership between Monolithe Noir and the folk singer Peter Broderick (Erased Tapes). The track was created using a real modular synthesizer, the artist's preferred instrument which shrouds this folk song with a cold and disquieting register, coexisting complex-free with the spectres of early electro.

In the same lyrical vein, GRANTED was composed using voice-changing software, for which Penelope Antena is now the undisputed maestro and which is one of the distinctive features of her work. A voice affected by a romantic break-up is the root of her writing. Electronic, solitary soul.

And, last but not least, 52HzWhale - Vincent Leibovitz himself - brings this compilation to a close with LADDER TO THE STARS, a track inspired by a work from Chinese artist Cai Guoqiang, discovered on Youtube: an ephemeral scale of fireworks. The progressive build-up of this celestial object embodies an ascent from Earth to the Heavens, from the world of the living to that of the deceased, embracing a transient combustion of synthetic and acoustic layers. Through this contemporary-sourced leaning gifted to traditions, Vincent Leibovitz illustrates his kinship, his respect and his mastery of image through sound: the quintessence of KowTow.

Walter Wanderleys Debütalbum O Samba É Mais Samba wurde in
Argentinien als El Samba Es Mas Samba Con veröffentlicht. Walter
Wanderley nannte sich für den nordamerikanischen Markt Walter
Wanderley's Brazilian Organ; eine zweite Veröffentlichung in den USA
mit dem Titel From Rio With Love folgte. Wanderley war bekannt für
seinen unverwechselbaren Stakkotstil und seine Beherrschung der
Hammond B-3-Orgel. Er war bereits in den späten 1950er Jahren in
seiner Heimat Brasilien berühmt und wurde durch seine
Zusammenarbeit mit dem Sänger Astrud Gilberto Mitte der 1960er
Jahre zu einem international bekannten Star.

Larry Grenadiers The Gleaners ist ein tiefgründiges und höchst kreatives Album, das seine Einflüsse
aus vielen Quellen bezieht. So ist sein Titel von Agnès Vardas Film - The Gleaners and I' inspiriert.
Zwischen seinen eigenen Stücken, einschließlich einer Widmung an den frühen Helden Oscar
Pettiford, erkundet der Star-Bassist hier Kompositionen von George Gershwin, John Coltrane, Paul
Motian, Rebecca Martin und Wolfgang Muthspiel. - Der Entstehungsprozess dieser Platte begann mit
einem Blick nach innen', schreibt Larry in seinen Liner Notes, - ein Graben in den Kernelementen
dessen, was ich als Bassspieler bin. Es war die Suche nach dem Zentrum von Sound und Klangfarbe,
nach den Fäden von Harmonie und Rhythmus, die den Knackpunkt der musikalischen Identität
ausmachen.' Das Ergebnis ist eine wichtige Ergänzung in der Reihe herausragender
Solobass-Aufnahmen bei ECM. The Gleaners wurde im Dezember 2016 in den Avatar Studios in New
York eingespielt und von Manfred Eicher produziert.

'A prodigious young talent' - New York Times
'Incredible!' - Gilles Peterson
'Completely essential' - Clash Magazine
Theon Cross strides confidently forth from his crucial
role alongside Shabaka Hutchings in the award
winning Sons Of Kemet to unleash one of the vital
sounds of 2019.
Irresistibly inventive, while at once both serious and
witty. Theon Cross plays tuba like no one else.
An enormous, swaggering bass emanates from
Theon's magnificent horn, evoking sweaty clubnights
where dancefloor bangers sit side by side with
intricate arrangements.
Nubya Garcia and Moses Boyd, London's Jazz golden
generation illuminaries, feature heavily. Wayne Francis
of Steam Down also guests.
Refusing to be shackled by the confines of jazz, the
album draws on London's vivacious cultural heritage,
dipping in and out of grime, afrobeat, electronic, dub,
dancehall and Jamaican roots music.
Theon featured recently on Makaya McCraven's much
lauded 'Where We Come From' album. He's also
performed with the likes of Kano, Moses Boyd, Jon
Batiste, Pharoahe Monch and Courtney Pine and is a
founding figure in South London-based collective
Steam Down.
'Theon Cross crucially embraces the bass and rhythm
role with exuberant inventiveness' - The Guardian

The Secret Between the Shadow and the Soul finds the celebrated Branford Marsalis Quartet at a new peak, addressing a kaleidoscope of moods with inspiration and group commitment. As usual there is compositional input from the veteran members, with Eric Revis supplying the surging 'Dance of the Evil Toys' and more tensile yet equally dynamic 'Nilaste,' while Calderazzo reinforces the lyrical compositional yin to his virtuosic keyboard yang in 'Cianna' and 'Conversation Among the Ruins.' In addition to the leader's own 'Life Filtering from the Water Flowers,' with one of his most deeply felt and keenly shaded tenor saxophone solos, there are two of the more challenging jazz jewels of the mid-seventies, Andrew Hill's 'Snake Hips Waltz' and Keith Jarrett's 'The Windup.' The Secret Between the Shadow and the Soul confirms Branford Marsalis's vision. It is sophisticated, adventurous and anything but defensive, and it captures a great band sounding better than ever.

The quartet that Marsalis has led for the past three decades has always been a model of daring, no-apologies artistry, of ever-widening musical horizons
and deepening collective identity. With like-minded support from pianist Joey Calderazzo and bassist Eric Revis (each with 20 years of service to the group) and drummer Justin Faulkner (the 'rookie' who has been aboard since 2009), the band has long been a model of how to sustain and enlarge a musical outlook that is both historically and stylistically inclusive.

The Guitar Player was Davy Graham's first full length LP, after releasing his EP ¾ A.D. two years earlier. This unique album combines his interesting and virtuoso guitar play with some excellent arrangements. With his guitar style he contributed to the musical changes in the early 1960s, where blues, rock and folk started to play a more prominent role in the music scene. The man crosses into blues, jazz, folk, Arababic music and more, often in the same song. It's an essential album and one of the greatest instrumental acoustic guitar records released in the 1960's.

British guitar virtuoso Davy Graham inspired a multitude of artists such as Paul Simon, Jimmy Page and Jimi Hendrix. Combining different music genres, Graham proved to be one of the 20th century's most versatile guitarists and songwriters.

When Cyro Baptista moved to New York in 1980 from his home city of São Paulo, he brought with him an arsenal of percussion instruments, including the cuica (friction drum), surdo (the booming bass drum associated with samba), berimbau (single-string bow with resonating gourd), and cabasas galore, in the next few years deploying them most notably in numerous ensembles curated by John Zorn, who helped set up this studio session in 1982.

As you might expect from someone whose infectious grooves have graced the work of Herbie Hancock, Astrud Gilberto and Cassandra Wilson, Baptista expertly fires off cunning polyrhythms, even traces of thumping samba, with restless fluency. Bailey the wily old fox skirts and eschews the bait, which is quickly conjured away and newly fashioned. The guitarist homes in on the delicious squeaks of the cuica and the twanging drones of the berimbau with truly awesome tonal precision. You could sing along if you wanted, after a caipirinha or two. And he gets almost as many different sounds from his instrument as Baptista can from his kit - check out the stratospheric plings and string-length fret-sweeps of Tonto, which sound more like a prepared piano than an acoustic guitar.

Wonders abound, from the berimbau/bent-string exchanges that open Quanto Tempo to the delightful collision of howling cuica and spiky bebop on Polvo, and the spare, preposterous Webernian samba of Improvisation 3.

These days, 'improvisation' often appears without its customary qualifier 'free'. If there were ever a case to be made for its reinstatement, this album is the best supporting evidence. Freedom means you're free to get into the groove, free not to, free to play with each other, free to play against each other. Sometimes frustrating, even scary, but more often than not in the hands of these two great masters it's hilarious, exhilarating and utterly irresistible.

Multi-reedist Tony Coe was born in 1934, four years after guitarist Derek Bailey. He cut his teeth as a career jazzman with Humphrey Lyttleton, before an extended stint with the Kenny Clarke/Francy Boland Big Band. On this rare 1979 duo outing, he sticks to clarinet. And though that instrument has an illustrious jazz pedigree, Coe's playing here is something else.

It's worth noting that the clarinettist has also played under the baton of arch-modernist Pierre Boulez, the kind of composer Derek Bailey enjoyed taking to task in his book Improvisation. You might think the Frenchman's uncompromising serialism and the free playing Bailey defended with such passion all his life would have little in common, yet both men were hugely influenced by Anton Webern. It's an influence you can hear right through Bailey's career in his obsessive exploration of tight parcels of registrally-fixed pitches, notably those trademark ringing harmonics. Meanwhile, Coe's meandering semitones and sinuous arabesques here recall both Boulez's clarinet writing in Domaines, and the harmonic world of Boulez's own teacher Olivier Messiaen.

Still, no traditional classical musical notation could ever render the extraordinary rhythmic subtlety and timbral complexity of this music. It's at one and the same time dazzlingly virtuosic — Coe and Bailey are on stellar form throughout, and have enough sense to, yes, accompany each other where needs be — and supremely lyrical and spacious.

An absolute delight.

The first edition of a two part series, Heritage finds Mark de Clive-Lowe in the process of grand introspection about his Japanese heritage, with specific tracks as memories from the past illustrating the right history of Japan. The albums have a sweeping, almost majestic feel with signature electronic soundscapes throughout.

*** UNRELEASED AFRO-CUBAN JAZZ FROM 1967 ***

Ulysses Crockett studied classical piano from 6 to 14 years old, adding alto saxophone and flute at 16 years old while attending Oakland California's McClymonds High graduating in 1956 as student body president and Valedictorian entering Stanford University in the fall of 1956.

During the Lawrence Ferlinghetti Bay area beatnik era (circa 1957-1960), Ulysses' group was known as The Latin Jazz Quintet which included an early female bongo drummer named Joyce Zavaleta. Joyce had an extensive vinyl LP collection of afro-cuban records including compositions and performances of legendary bassist Israel 'Cachao' López and international known singer Celia Cruz. Joyce met U.C. Berkeley Student John Miller and taught him the Cuban piano styles. The regular members of the Afro-Blue Persuasion band consisted of John Miller - piano, Harald Haynes - congas, Robert Belinksy - drums, Ulysses Crockett - vibraphone, and Robert Bing Nathan - upright contrabass.

At nineteen years old each, bassist Paul Jackson (who appears with genius composer, performer and pianist Herbie Hancock) and tenor flautist Robert Harvey were both serving in the U.S. Army station located in the San Francisco base known as the Presidio. On weekends, both Paul and Robert would sit in with the Afro-Blue Persuasion band.

"Live at Haight Levels" is the one and only recorded live performance by the Afro-Blue Persuasion. Finally, the songs are going to see the light of the day after 52 years! This is afro-cuban jazz at its very best! A stunning treasure rarely to be found - unless it's on Mo-Jazz!

Key selling points:

- all songs previously unreleased

- deluxe vinyl LP with old school tip-on cover

- incl. full album download code

- limited to 500 hand-numbered copies

Vibrations is the second album released by American free jazz saxophonist Albert Ayler's quartet featuring Don Cherry, Gary Peacock and Sonny Murray. The album was recorded in Copenhagen in September of 1964. Originally issued by the Freedom label, it also been released under an alternate title, Ghosts. Previously out of print for decades, the recordings were remastered for an audiophile-grade pressing on 180gram vinyl at Pallas in Germany.

180g, Repress!

2019 feiert das Blue-Note-Label seinen 80. Geburtstag. Unter den Aktivitäten des Jahres findet sich
auch eine für Vinyl-Fans besonders interessante: die "Tone Poet Audiophile Vinyl Reissue Series".
Man nennt ihn den 'Klangpoeten': Joe Harley, Mitbegründer und Koproduzent des renommierten
amerikanischen Vinyl-Labels und Mail-Orders 'Music Matters'. Zum Jubiläum wurde er jetzt von Blue
Note beauftragt, ausgesuchte Alben für eine exklusiven LP-Edition zusammenstellen. Diese rein
analogen Reissues werden von den originalen Masterbändern von Kevin Gray (Cohearent Audio) neu
gemastert und bei Record Technology Incorporated (RTI) in 180g-Vinyl gepresst. Die Originalcover
werden als hochwertige, schwere Tip-on-Sleeves faksimiliert. Zu den von Joe Harley handverlesenen
Aufnahmen werden für ihre Aufnahmequalität berühmte Blue-Note-Klassiker, aber auch
herausragende aktuelle Einspielungen gehören.
Die ersten beiden Alben der Serie sind besondere "Blue-Note-Leckerli": Wayne Shorters 'Etcetera'
und Chick Coreas 'Now He Sings, Now He Sobs'.
Ausstattung: 180g-Pressung, neues Remaster von den Analogbändern, keine digitalen
Fertigungsschritte, schwere Tip-on-Hüllen

* Pharoah 'Farrell' Sanders (born 1940) is a leading figure in the world of jazz and one of the last living legends with connections to players like Sun Ra and John Coltrane. His tenor saxophone playing has earned him royal status amongst free jazz players, critics and collectors.

* Originally Sanders was interested in urban blues music, but his high school teacher exposed him to jazz and this took Farrell in an entirely new direction. Once completing high school Sanders quickly packed his belongings and headed to Oakland, where he got a chance to work with musicians of high caliber such as saxophone players Sonny Simmons and Dewey Redman (who were both later to be major forces in new jazz and free jazz). Soon the young Pharoah would meet John Coltrane and would feel being attracted to the life as a professional musician. By the early sixties Sanders moved to New York where the major jazz scene was happening. Here he'd spent most his time honing his skills at rehearsals with Sun Ra....sadly he was not making much money with the Arkestra and soon found himself living on the streets, trying to stay up all night playing and then scrounging for money during the day, often selling blood to eat.

* Sanders recorded his debut album for ESP soon after, but it wasn't until he started playing with his old friend John Coltrane that he would fully unleash the fury of his saxophone on the world of free jazz. The records Pharoah Sanders played on for Coltrane laid the foundation of what was to come for both the world of free jazz and for Sanders as a musician. After Coltrane's tragic death Sanders would record further with Alice Coltrane, John's widow, on the album Karma (1969 - Impulse!), which is universally accepted as Sanders' masterpiece. Along with musicians Alice Coltrane and singer Leon Thomas, Sanders helped to create the genre of spiritual jazz.

* On the album we are presenting you today (Africa from 1987) Sanders plays with an all-star line-up consisting of Idris Muhammad, John Hicks and Curtis Lundy. Muhammad brings his trademark tight sense of timekeeping, but with a looseness that we love - and Lundy's warm soulful bass does more than enough to give the set a sound bottom- all this while Hick's free lyrical piano works nicely with Sander's spiritual horn.

* The brilliant 'Africa sessions' features the quartet at their best...soulful but also searching for a strong groove at the same time. The music here is less ornamented than on most of Sanders' studio recordings, where sextets, septets or larger lineups have been the norm, but this brilliant effort here remains every bit as compelling. Pharoah and his crew play with the utmost sensitivity and give a demonstration that shows us the full extent of their skills.

* Tidal Waves Music now proudly presents: the official reissue of this fantastic album, back available on vinyl for the first time since 1987. Available as a deluxe 180g 2XLP set, with TWO bonus tracks from the same session that were not featured on the original vinyl release. This album is limited to 500 copies worldwide and comes with an obi strip + liner notes by American jazz critic & author Kevin Whitehead.

First Vinyl Reissue Since 1987
Deluxe 180g Double Vinyl Edition, Comes With Liner Notes
Contains Two Bonus Tracks Never Before Released On Vinyl
Strictly Limited To 500 Copies Worldwide, Comes With Obi-strip

The Orbit was founded in 2016 by saxophonist Soren Lyhne Skov and pianist Peder Vind. The two had been playing together for over a decade in various groups inspired by afro-beat and ethio jazz. The idea with Orbit is to maintain the feel of certain musical traditions but to explore them through a modal jazz perspective.

The ominous Orbit Bound is centered around the figure played by the bass clarinet. The time is 9/8 and with the sound of the bass clarinet you might get a Balkan feel. But the scale is more Middle Eastern making it difficult to place precisely - like an orbit constantly moving.

NV is a tribute to the North Western borough of Copenhagen, which is a multi-ethnic and partly still ungentrified part of Copenhagen. The area has its struggles and social problems but at the same time it is also a place of warmth, surprises and lot of untapped talent.

This song has a loose minor scale theme with some sparse piano chords and a solid bassline leading the way. The drums are constrained giving the track a feeling of unreleased energy similar of the potential energy in NV.

Originally from the United Kingdom, funky soul-jazz veterans The New Mastersounds have been touring USA, Europe and Japan for over a decade and return here with their twelfth studio album, recorded in New Orleans and Denver and featuring a slew of musical guests.

"Renewable Energy" expands on the NMS template while still providing plenty of the band's trademark sounds. Guitarist Eddie Roberts, drummer Simon Allen, bassist Pete Shand and keyboardist Joe Tatton are joined on this 11-track effort by a number of guests: Sam Bell, one of the founding members of NMS precursor The Mastersounds who also guested on two previous NMS albums, plays percussion on most of the tracks. Mike Olmos and Joe Cohen of the West Coast Horns once again provide added horn action as they did on "Made For Pleasure" from 2015, while Adryon de León from LA band Orgone contributes vocals on "Gonna Be Just Me". Uptempo numbers "Tantalus" and "Yokacoka" see the band flexing their playing chops over a tightly-wound rhythm, while "Green Was Beautiful" and "Groovin On The Groomers" are toe-tapping slabs of soul jazz. The band's cover of James Gang's "Funk 49" takes the album in a fuzzed-out psych-rock direction with Eddie singing the lead, while the moody Hancock-esque inflections of "Stash" and the sweet mellow vibes of "Swimming With My Fishies" add the final brushstrokes of colour to the canvas.

Originally from the United Kingdom, funky soul-jazz veterans The New Mastersounds have been touring USA, Europe and Japan for over a decade and return here with their twelfth studio album, recorded in New Orleans and Denver and featuring a slew of musical guests.

"Renewable Energy" expands on the NMS template while still providing plenty of the band's trademark sounds. Guitarist Eddie Roberts, drummer Simon Allen, bassist Pete Shand and keyboardist Joe Tatton are joined on this 11-track effort by a number of guests: Sam Bell, one of the founding members of NMS precursor The Mastersounds who also guested on two previous NMS albums, plays percussion on most of the tracks. Mike Olmos and Joe Cohen of the West Coast Horns once again provide added horn action as they did on "Made For Pleasure" from 2015, while Adryon de León from LA band Orgone contributes vocals on "Gonna Be Just Me". Uptempo numbers "Tantalus" and "Yokacoka" see the band flexing their playing chops over a tightly-wound rhythm, while "Green Was Beautiful" and "Groovin On The Groomers" are toe-tapping slabs of soul jazz. The band's cover of James Gang's "Funk 49" takes the album in a fuzzed-out psych-rock direction with Eddie singing the lead, while the moody Hancock-esque inflections of "Stash" and the sweet mellow vibes of "Swimming With My Fishies" add the final brushstrokes of colour to the canvas.

2019 feiert das Blue-Note-Label seinen 80. Geburtstag. Unter den Aktivitäten des Jahres findet sich
auch eine für Vinyl-Fans besonders interessante: die "Tone Poet Audiophile Vinyl Reissue Series".
Man nennt ihn den 'Klangpoeten': Joe Harley, Mitbegründer und Koproduzent des renommierten
amerikanischen Vinyl-Labels und Mail-Orders 'Music Matters'. Zum Jubiläum wurde er jetzt von Blue
Note beauftragt, ausgesuchte Alben für eine exklusiven LP-Edition zusammenstellen. Diese rein
analogen Reissues werden von den originalen Masterbändern von Kevin Gray (Cohearent Audio) neu
gemastert und bei Record Technology Incorporated (RTI) in 180g-Vinyl gepresst. Die Originalcover
werden als hochwertige, schwere Tip-on-Sleeves faksimiliert. Zu den von Joe Harley handverlesenen
Aufnahmen werden für ihre Aufnahmequalität berühmte Blue-Note-Klassiker, aber auch
herausragende aktuelle Einspielungen gehören.
Die ersten beiden Alben der Serie sind besondere "Blue-Note-Leckerli": Wayne Shorters 'Etcetera'
und Chick Coreas 'Now He Sings, Now He Sobs'.
Ausstattung: 180g-Pressung, neues Remaster von den Analogbändern, keine digitalen
Fertigungsschritte, schwere Tip-on-Hüllen

Khalab's 'Album of The Year' has been re-worked!

Ahead of a full remix LP (Summer 2019) On the Corner have opened the vault on 2019 hitters.
This 12' scorches the terrain built by 'Black Noise 2084'.
Hieroglyphic Being dominates the dancefloor with his 10 min sweater.
Afrikan Sciences launch off from Khalab's afrocentric soundscapes into a futuristic cosmos.
Blood, Wine or Honey strip it back, break it down and leave bassments trembling with the
weighty jungle blows.

After a stellar year for Khalab and On the Corner these three remixes bring knock-out blows
for 2019 dancefloors.

Hieroglyphic Being's 10 min sledgehammer shakes the floor as the mythical producer runs a
profound groove with three 808s pummelling the spine of Khalab's track.

On the B side, Afrikan Sciences uses the Afrocentric theme of the original to strip it back and
propel it into the cosmos.

Khalab's 'Black Noise 2084' has already racked up 'Album of the Year' status and we're giving
you a first glimpse of this earth scorching, dance destroyer that will prepare an onslaught for
2019.

'Although discrete, the career of saxophonist Philippe Maté includes nonetheless several indispensable albums: be it with the Acting Trio, Jean Guérin (Tacet) or Jef Gilson (Workshop), his collaborations in a big band or quartet with Lawrence "Butch" Morris, his presence in the Saxophone Quartetand also on the brilliant L'Enfant assassin des mouches by Jean-Claude Vannier.

As for the man in the background, Daniel Vallancien, a sound engineer rarely featuring on the sleeves, the collection Actuel on the BYG label owes much to him (he is at the controls behind Anthony Braxton, Don Cherry, Sonny Sharrock or Steve Lacy), the same goes for Saravah for who he notably recorded Areski,Brigitte Fontaine, Maurice Lemaître or the Cohelmec Ensemble: not bad for starters! What is more, Daniel Vallancien is one of a prestigious group of French recording engineers with open ears and often themselves musicians, even if only occasionally for some, including Bruno Menny, Daniel Deshays or Jean-Marc Foussat, who have all recorded remarkable albums as leaders. Behind this collaboration was the idea of creating music which was free, direct and spontaneous, while having also a minimum of advance planning. Music, according to the brief liner notes, desires to "remove itself from long and patient laboratory experiments ". So there can be found here none of the sophisticated tools associated with electroacoustic research, but mainly a recording mixer console, which, in the hands of Daniel Vallancien acts directly on the original instrumental sound in real time, modifying and multiplying it while respecting the natural flow.

Be it Paul Méfano, Betsy Jolas, Gérard Grisey or Jacques Lejeune, many contemporary composers working in France have, at one time or another, included the saxophone in their work. Michel Redolfi, for example, with the GRIM and then the CIRM , experimented with saxophonist André Jaume on a convincing recording (Hardscore). Nothing, however, can compare to the singularity of the dialogue between Philippe Maté and Daniel Vallancien, which they themselves describe as being "serious, sarcastic or humorous", with, here and there, "disturbing sounds". Words, however, even those used by the protagonists themselves, are insufficient to describe such a sonic object, difficult to identify and, it has to be said, extraordinary.'

Blood, Sweat & Tears' fourth album B, S & T: 4 was written by different band members. The record peaked at number 10 on the Billboard Pop albums chart and two singles made their way into the Pop singles chart. The tracks are generally shorter compared to their previous albums. The band moved a little bit to the mainstream direction, offering some impressive performances. Their musical style is still a mix of rock, blues, jazz and folk. The warm atmosphere is recognizable and it's great from beginning to the piano led end, a charming, energetic and lively album.

In their almost 50-years of existence Blood, Sweat & Tears covered a lot of famous songs by James Taylor, The Band and The Rolling Stones, among others. They also incorporated different music from artists like Thelonious Monk and Sergei Prokofiev in their songs.

Official remastered re-issue of Jorge Ben's masterpiece from 1981 - Absolute Brasilian classic!

Sissoko is the undisputed master of tamani (the original talking drum), that he started to play since he was a child (thanks to the teaching of his grand-father Djeli Baba Sissoko and Djeli Maka Sissoko and Djatourou Sissoko) and from which he is able to extract all the notes simply with a one, natural movement. Baba Sissoko plays also ngoni, kamalengoni, guitar, balaphon, calebasse, hang and ... he sings!

He is from a great and ancient dynasty of griots from Mali: in the Malian tradition, griots are deputed to calm down hearts and souls, by means of music. Baba Sissoko has been the first one to introduce the sound of tamani in the modern music of Mali.

In the Baba compositions there is a great influence of Amadran, that is a repetitive and hypnotic musical structure typical from Mali by which, according to many researchers, blues was born.

Among others, he worked and cooperated with Habib Koite, Rokia Traore, Ibrahim Ferrer, Buena Vista Social Club, Don Moye and Art Ensemble of Chicago, Dee Dee Bridgewater, Enzo Avitabile, Miguel Anga Diaz, Omar Sosa, Chris Joris, Bob Stuwart, Aka Moon, Roberto Fonseca, Oumou Sangare, Philippe Caterina, Toots Thielemans, Kasse Mady Diabate, Afel Bocoum, Cheick Tidjane Chek, Toumani Diabate, Ballake Sissoko, Mighty Mo Rodgers, Antonello Salis and many others.

In the latest works, Baba enjoyed working with Luca Sapio (in the album "Three Gees"), hosting Corey Harris (Grammy winner, star of the well- known documentary "from Mali to Mississippi" directed by Martin Scorsese) . also his work with DJ Khalab, 'Khalab & Baba ", released in October 2015, won the track of the year award at the 2016 Gilles Peterson Worldwide Awards, an annual ceremony by Gilles Peterson, DJ of the BBC.

Never content with the ordinary, Baba Sissoko started his personal outstanding musical journey in Bamako, Mali, several years ago. Carrying on his shoulders the legacy of a legendary dynasty of Malian griots and repeating to himself that 'It's getting closer and closer but I'm not there yet' he broke all the boundaries,

His most appreciated satisfaction came few years ago when he found out that his firstborn daughter, Djana, a young and super talented 18 years old, decided to follow his path and to join him in the mission to deliver his meaningful message of peace and joy to the world.

Consolidating the relationship with the Italian producer Luca Sapio they recorded a new album together called 'Fasiya' that magnifies this cross- cultural exchange where looking at the roots to shape the future is the key

If ever a record delivered the promise of new excitement this one is exactly that kind. Baba constantly explores new sounds, and as a result, has electronically transformed his traditional ngoni into one of the wildest fresh sounding lead instruments to hit the music world in years.

With his arsenal of handmade instruments, he provided a mystic way followed like a comet tail by Djana's sparkly soulful vocals where Bambara blends naturally with English and Franc¸ais.

For the occasion Max Weissefeldt (Poets Of Rhythm, Dr. John, Guy One) sat at the drums and lighted up some fiery high-life beats, solid ground for tentacular horns arranged by M. Claudio Giusti that skyrocketed the whole record into the sky.

All recorded in Luca's analog studio, the result is an organic music corner stone that fueled by new and vintage obscure gear panoramizing a new sound directed at anyone who wants to lost himself in a vibey sonic garden, but most of all at anyone who can feel the beat, that basically means everybody.

Cochemea Gastelum is coming home to connect with his roots. After nearly 15 years of touring the world with Sharon Jones and The Dap-Kings, the saxophonist offers a deeply personal album of jazz and indigenous-influenced rhythms. All My Relations¸ out February 22 on Daptone Records, is 10 tracks of mesmerizing and spiritually ascendant instrumentation. The first single 'All My Relations' is available now.

'All My Relations is a way for me to explore my roots through music. Some of it is a memory that is imagined from a time and place I've never been ('Sonora') or a musical impression of ritual ('Mitote'),' Cochemea says. 'I felt compelled to add the way I feel when I go to ceremony, when I feel connected with my ancestors, to the musical narrative.'

A California native with Yaqui and Mescalero Apache Indian ancestry, Cochemea grew up surrounded by music but without knowing much about his heritage. Both his parents were musicians, and they gave their son a heavy name meaning 'they were all killed asleep.' Cochemea has spent much of his diverse musical career - as a soloist, musical director, composer and ensemble player - exploring and iterating on roots music, and All My Relations is a capstone meditation on his own ancestry.

Originally conceived during Sharon Jones and The Dap-Kings' final year of touring, Cochemea and Daptone's Gabe Roth cast a varied but familial set of New York musicians to bring All My Relations to life. A large portion of the album was created through improvisation and collective writing, where its 10 musicians created a melodic, percussive conversation. 'It was a beautiful experience - people would start playing and we'd work up these arrangements on the spot, then record it.'

'In a sense, this record is a prayer for unity, love and the recognition that we are all part of a web, and everything we do effects everything else,' Cochemea says. 'These days there's so many lines being drawn, I wanted to focus on what unites us.'

Cochemea has a long history of uniting multiple genres with his powerful polyrhythmic sensibilities. His roots in jazz, Latin, funk and rock led to multiple tours with funk-jazz organist Robert Walter's 20th Congress, and connected him with Sharon Jones & the Dap-Kings for their 2005 Naturally tour. Cochemea also played tenor sax with The Budos Band and Antibalas, and Baritone sax on the Amy Winehouse sessions, before becoming a full-time Dap-King in 2009.

In between marathon tours, Cochemea recorded a critically acclaimed solo album of soul, funk, and afro-Latin jazz, The Electric Sound of Johnny Arrow, all while doing session work for the likes of Mark Ronson, Rick Rubin and Quincy Jones. He's performed alongside Archie Shepp, Beck, David Byrne, Public Enemy and The Roots. Cochemea was also a featured soloist in the award-winning Broadway play Fela!, which led to historic performances in Lagos, Nigeria.

***LP includes an insert with pics & liner notes, and comes as 2LP (45rpm) set which is limited to 1000 numbered copies + download card***

"I recorded 'Live Without Fear' on May 31 1979 with some of my friends. We drove up into Evanston from Chicago in 3 cars on a day that smelled good and spoke all day sunshine... to 'Live Without Fear' means to live in material reality with faith... Peace on you!" - Soji Ade' 2018

With a price of well over $1000 on the few occasions the original LP has hit the market, 'Live Without Fear' is a beautiful album of humble purity and peaceful spiritual jazz vibes that lives up to the hype. With the blessing of creator Soji Ade and colleague Kahil El Zabar, we're delighted to be able to finally share their music with you, 40 years since it was recorded. As so often with private pressings, few copies were pressed and those that were suffered from little or no distribution. However, with our new remaster and with added liner notes from Chicago music archivist Steven Emmerman, their message of love and spiritual unity can now be revealed and appreciated worldwide.

NOTE: The original LP was released with both sides approaching 30 mins in length. This is extraordinarily long for an LP and as such the quality of sound will suffer during playback. We have therefore taken the opportunity to release the album as 2 x 12" sides, each cut at 45rpm, and the sound quality has greatly improved as a result.

The Brazilian born master guitarist Bola Sete (literally translated to 'Seven Ball' and a snooker reference) originally studied music at the Conservatory of Rio while playing in his own jazz sextet and small samba combos. Sete spent time in Italy and also absorbed jazz influences as he was a avid fan of Charlie Christian and Django Reinhardt. It was these influences, along with the local samba and bossa nova flavor he was absorbing on a daily basis in Brazil that form the foundation of his sound. This record, his debut album from 1957, combines those influences beautifully in a perfect jazz samba setting, a fully formed artist who had been a professional musician for years before releasing this album. Sete counted among his admirers and fans such disparate legends as Dizzy Gillespie and John Fahey, and one listen to this masterful debut will tell you why. An absolute essential on 180 gram vinyl.

Being introduced to the work of Ludovico Einaudi at a young age, Joram started composing and home recording his own neoclassical piano pieces. The thread that runs throughout his compositions is the minimalist character: repeating structures that slowly build and fade. The works are electroacoustic spaces of sound with a felt, warm, melancholic undertone - translating indefinable moods into music.

This is the latest new installment of Soul Jazz Records' on-going collection of Rastafarian music at Studio One, featuring classic material from legendary roots and culture artists The Gladiators, Horace Andy, Freddie McGregor, Sugar Minott and the Wailing Souls, alongside a superb selection of rarities from Sir Coxsone's musical empire made up of one-off and practically unknown Rastafarian artists who recorded on a myriad of Studio One off-shoot labels in the 1970s - The Manchesters, Mellodies, The Nightingales and others.
In this new collection, we see that once again the prescient Clement Dodd was a man who saw the wider picture. In the 1960s it was Sir Coxsone who identified the creative potential of The Wailers, Toots and the Maytals, Heptones, Burning Spear and many, many others. In the 1970s Studio One released an untouchable selection of the finest as styles moved from reggae to deejay to dub and, in the latter half, the emergence of dancehall.
But what is also clear is that throughout this era Studio One released an incredible amount of roots music, and not just the most commercially obvious. For alongside the career-building catalogues of Burning Spear, The Wailing Souls, The Gladiators and so on, one needs to be an ardent Studio One collector to know some of the truly raw Rastafarian music featured here. Groups such as The Manchesters or The Nightingales feel as if they were recorded straight out of the churchical chants of the mansions.
Black Man's Pride explains the links between the ideology of Clement Dodd at Studio One and the Rastafarian faith, which was the creation of Afro-Jamaicans and concerned above all else with a black consciousness and empowerment, a rediscovering of the personal and racial identity of black people. The movement began in the 1930s and, in tandem with this black consciousness, called for a rejection of the British imperial culture that dominated Jamaica, while creating an identity based on a re-appropriation of an African heritage.
The Rastafari movement was like a pivot, bringing together and balancing many vectors of ideologies. Marcus Garvey's Back to Africa movement, trades union discourse, anti-colonialism and nation independence, maroon self-definition and independence, the spirit of African rebellion in the Caribbean. For Clement Dodd, a black man and producer growing up in Kingston in this era, Rastafari was simply a part of his everyday world - from witnessing Count Ossie's grounations to the faith of many Jamaican artists at Studio One - from the Skatalites onwards.
Featured here alongside these classic and rare tracks from Studio One are new and extensive sleeve notes with track-by-track notes by Rob Chapman, author of the acclaimed Downbeat Special and Never Grow Old Studio One books.
The album is released as double heavyweight gatefold vinyl (+ free download code), CD with slipcase and booklet, and digital album.

LP DELUXE EDITION includes: Pink vinyl / Poster / Redeem code, Ltd to 300 copies, LP includes redeem code / Ltd to 700 copies - PRAED's fourth album. This is the ultimate kit to prepare calmly for the sixth extinction! The Lebanese duo delivers a raging interpretation of the chaabi - popular Arabic music - using synthesizers, drum Machines, samples and other devices. The result is hypnotic and psychedelic, on the verge of trance. The clarinet of Paed Conca and the soaring lyricism of Raed Yassin sound like distant calls for help emerging from a world that is falling apart and slipping away. The record itself is enhanced by its sleeve - designed by the Lebanese artist Raphaëlle Macaron - printed in 5 Pantone colors making it as explosive as the music.

LP DELUXE EDITION includes: Pink vinyl / Poster / Redeem code, Ltd to 300 copies, LP includes redeem code / Ltd to 700 copies - PRAED's fourth album. This is the ultimate kit to prepare calmly for the sixth extinction! The Lebanese duo delivers a raging interpretation of the chaabi - popular Arabic music - using synthesizers, drum Machines, samples and other devices. The result is hypnotic and psychedelic, on the verge of trance. The clarinet of Paed Conca and the soaring lyricism of Raed Yassin sound like distant calls for help emerging from a world that is falling apart and slipping away. The record itself is enhanced by its sleeve - designed by the Lebanese artist Raphaëlle Macaron - printed in 5 Pantone colors making it as explosive as the music.

The Visit was recorded in 1970 in LA and it redefined the existing borders of the psychedelic movement, resulting in obscure and complex songs with mind blowing instrumentation and depth. Not really a solo album at all, as Smith is backed by eight very capable musicians. Much of the music is instrumental, achieving a mystical and 'psychedelic' atmosphere, although there are a few more mainstream tracks and some nice bluesy guitar work in places. The original pressing (especially with the amazing psychedelic poster) has skyrocketed in value in recent years. Another significant collectable from the California rock scene that will interest many.

Der junge Texaner Booker Ervin hat sich autodidaktisch am Tenorsaxophon
ausgebildet. Seine markante Tenorausprägung ist auf vielen Mingus-Alben der späten
fünfziger und frühen sechziger Jahre zu hören. Darunter sind die wegweisenden
Longplayer Ah Um, Blues and Roots, At Antibes und Mingus Five vertreten. Booker
Ervin gehört in die Tenorsax Hall of Fame. Wie bereits bei John Coltrane,
verkürzte ein tragischer Zwischenfall auch Ervins Karriere.
Auf The Book Cooks sind fünf Ervin-Originale und Poor Butterfly enthalten.
Darunter großartige Interpretationen wie der langsame Blues The Blue Book und der
schnelle Blues The Book Cooks. Booker Ervins Debüt als Kopf von Jazz-Combos
führte den Tenorsaxophonisten und Meister des intensiven Spiels mit Mitspielern wie
Zoot Sims, dem Trompeter Tommy Turrentine, dem Pianisten Tommy Flanagan,
dem Bassisten George Tucker und dem Schlagzeuger Dannie Richmond zusammen.

Charlie Rich war mit Sicherheit einer der größten weißen Blues-Sänger aller Zeiten. Er
war auch ein erfahrener Pianist, Songwriter und Performer. Rich veröffentlichte 1958
seine erste Single Whirlwind auf Sun Records. 1960 nahm er seine ersten Top 30 Singles
Lonely Weekends auf, gefolgt von Who Will The Next Fool Be, Sittin, Thinkin und
Midnight Blues.
Wenn es um künstlerische Integrität und musikalische Qualität geht, stand Rich mit den
anderen Sun Cats auf einer Stufe: Presley, Cash, Orbison, Perkins und sogar Jerry Lee
verehrten die umfassende und vielfältige Begabung von Charlie Rich.
Lonely Weekends umfasst 21 seiner besten Tracks!

Chris Potter, Jahrgang 1971, ist ein US-amerikanischer Jazz-Saxophonist und Komponist.
Potter spielte sein erstes professionelles Jazz-Konzert bereits mit 13 Jahren. Er veröffentlichte eine
Anzahl von Alben als Bandleader und nahm mit Jazzmusikern wie Kenny Werner, Red Rodney,
Marian McPartland und der Mingus Big Band auf. Das neue Album Circuits zeigt durch
elektronische Einflüsse eine neue Seite der Saxophon-Legende. Circuits bietet eine lebendige
Klangwelt aus Elektronik, unvergesslichen Melodien und überraschenden Elementen und
spricht sowohl die engagierten Potter-Fans als auch neue Hörer an.
Seit mehr als zwei Jahrzehnten begeistert Potters Kreativität, seine mühelose Virtuosität und sein
Sinn für Musik und Fans gleichermaßen. Nicht ohne Grund wird er als einer der besten und
einflussreichsten Saxophonisten und einfallsreichsten Improvistoren der modernen Zeit
bezeichnet. Chris Potters All-Star-Band besteht aus dem 23-jährigem Keyboarder und Blue Note
Artist James Frances, dem Drum-Virtuosen Eric Harland und dem Bassisten Linely Marthe.

Local Talk is proud to present the first of two 10" releases featuring music by Kyoto Jazz Sextet.Rising is taken from their second album 'Unity' released on Blue Note in 2017 and besides the beautiful original we've included a stunning remix by Ron Trent that catches you immediately.

Named after the rough and ready bars where labourers gathered to drink and dance, barrelhouse was a raucous form of piano blues that got the juke joints swinging.

From early pioneers such as Cow Cow Davenport and Speckled Red to the boogie-woogie legends Pete Johnson and Albert Ammons, this collection charts the rise and incredible influence of this good-time blues.

A classic collection of up-beat piano blues originating from the 'juke joints' of the rural Southern States featuring many legendary blues pianists including Leroy Carr, Cripple Clarence Lofton and Montana Taylor. Includes FREE

download card enabling you to download the full album as well as bonus barrelhouse blues tracks